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"The Powers Within" 

A Drama in Four Acts 

Embodying a Study of the Passions, Eccen- 
tricities, and Impulses of Men 
and Women 

BY 
Arthur J. Ebert 

Author of 

"In Love's Captivity" 

"The Young Philanthropist" 

"A Battle of Hearts" 



The play is fully protected by the Copyright Law, 
all requirements of which having been complied with. 
No performance of it may be given, except by special 
arrangement with the author. 

(Copyright 1909) 

By ARTHUR J. EBERT 

Milwaukee, Wis. 

PRINTED AS MANUSCRIPT ONLY 



1 



"The Powers Within" 

A Drama in Four Acts 

Embodying a Study of the Passions, Eccen- 
tricities, and Impulses of Men 
and Women 

BY 

Arthur J. Ebert 

Author oj 

"In Loves Captivity" 

"The Young Philanthropist" 

"A Battle of Hearts" 



The play is fully protected by the Copyright Law, 
all requirements of which having been complied with. 
No performance of it may be given, except by special 
arrangement with the author. 

(Copyright 1909) 

By ARTHUR J. EBERT 

Milwaukee, Wis. 

PRINTED AS MANUSCRIPT ONLY 



r 



LIBRARY of CONGRESS 
two copies Received 
Hti 10 1009 
Copyrif nt Entry 

ft— .\uqo^ 
k ~ ,.JL 



t_o?7 



Thomas Ehford. 

Theodore Wilbur. 

William Lawson, 
Leola Stanley. 

Lucille Vilas. 

Mrs. Erford. 



CHARACTERS. 

Assistant Cashier of the Gotham Nation- 
al Bank, who finds much recreation 
in literary work. 

Paying Teller at the Gotham National 
Bank. 

A friend to both. 

A Student in the New York School of 
Art. 

Also a Student in the New York School 
of Art. 

Tom's mother. 



SYNOPSIS OF SCENES. 

Act I. Stanley's Summer Home in the Catskill Mountains on 

the Hudson. 
Act II. Lueille's Apartments, New York. 
Act III. Mr. Erford's Study, New York. 
Act VI. Same as Act. III. 



The Powers Within 



THE FIRST ACT. 



I 



Stanley's summer home in the Catskill Mountains on the Hud- 
son. The scene represents the grounds immediately in front of a 
small summer cottage on the Hudson River. The porch and front 
of the cottage occupy the right of the stage. Large trees surround 
the immediate vicinity, behind which the river is plainly visible. 
A sixteen-foot canoe of blue tint bearing the name of "Duckie" 
occupies the left of the stage. An old hammock is hung between 
the cottage and a tree to the left of it. An artist'st easel and an 
unfinished water-color painting occupies the right of the stage. At 
the rise of the curtain Leola is busily engaged in painting. 

Ted. enters from left of stage. He runs on tip toes to Leola 
and kisses her. 

Leola. (Turning. Angered.) Ted, you spoiled the picture. 

Ted. What picture? 

Leola. Why, the picture I'm painting, of course. 

Ted. I'm sorry. Where? 

Lfola. Here. (Pointing with brush.) This green line don't 
belong there. 

Ted. I'm awfully sorry, Lee. Can't you make a fish out of it? 

Leola. Who ever heard of a fish swimming in the air. 

Ted. Attach a little line to it. Paint a pole here (pointing) 
a picture of me there, and it will look as though 1 was pulling 

8 



a big bass out of the water. 

Leola. That wouldn't look natural. 

Ted. {Laughs.) No — 1 never had the patience. Can't you 
make a sail boat out of it? 

Leola. Not unless I enlarge the river, and that wouldn't 
look artistic on so small a picture. Besides who ever heard ol a 
green sail boat ? 

Ted. That's true, too. Suppose you paint another tree there. 

Leola. I suppose I'll have to now. 

jTed. You're not angry are you? {Takes her hand affec- 
tionately.) 

Leola. I never get angry. 

Ted. You were just a little, weren't you? 

Leola. Let's not talk about it. 

Ted. All right. How 7 did you enjoy the dance last night. 
(Lights a cigarette.) 

Leola. We had a dandy time. Tom is a fine dancer. He 
can dance the barn dance twelve different ways. 

Ted. My! That's going some. I'm sorry I wasn't out here 
last night. 

Leola. Yes. I missed you. 

Ted. I'm sorry — and yet I'm glad to hear it. 

Leola. Hear what? 

Ted. That you missed me. 

Leola. Oh well, you w r rote that you w T ould be here for the 
dance and I expected you. 

Ted. T know, but the auto was to blame. We had quite a 
lot of tire trouble on the way. We didn't get out here until 
after mid-night. (He sits on the grass next to her.) Did Tom 
take you across in "Duekie"? 

Leola. No. we took the launch. 

Ted. Did his Newport girl go back to the city? 

Leola. Tom's? 

Ted. Yes. 

Leola. I don't know, I never met her. 



Ted. She was here last week. Be was quite spoony with her 
on the launch last Wednesday night. 

Leola. Who told you that. 

Ted. I was on the launch myself. I heard he was engaged 
to her. 

Leola. What's her name. 

Ted. Frances Hatton. 

Leola. Oh, Frances Hatton. I met her about a week ago. 
She's a very pretty girl. 

Ted. I understand she left because he became rather familiar 
with other pretty girls around here. 

Leola. Why are you telling me all this? 

Ted. Because I don't think he's the best kind of company 
for you. 

Leola. A person oughtn't believe everything one hears. 

Ted. I've seen him myself. He's rather free in distributing 
his kisses and affection. 

Leola. I doubt that. Ted. He's w T ell liked by all the people 
stopping here, and he's always been a gentleman while in my 
presence. 

Ted. I won't contradict that — but you just ask the bachelor 
boys about him. They'll tell you the same thing. 

Leola. They needn't talk about other men. There ain't any of 
them angels either. I've heard a few very unpleasant reports 
about some of them and you'll not find me looking for informa- 
tion around their cottage. 

Ted. (He lights cigarette.) I don't like to talk about people 
as a rule, unless I can say good things about them. But under 
the circumstances I think it's best that you should know. 

Leola. I'm glad you told me. (She rises and crosses to ham- 
mock, takes her bracelet off and places it on the other arm.) 

Ted. (Notices this. He throws his cigarette away and crosses 
to hammock.) Why did you place your bracelet on the other 
arm. 

Leola. (Laughing.) I did that unconsciously. 



Ted. Oli! Have you spoken to your dad about our proposed 
engagement ? 

Leola. No, not yet. 

Ted. You're going to, ain't you Lee? {Sits in hammock.) 

Leola. (Sighs.) I suppose so. 

Ted. When? 

Leola. As soon as he gets back from his trip West. 

Ted. When will he return. 

Leola. In about two months. 

Ted. That's a mighty long time to waite. (He takes her 
hand affectionately.) Leola, do you remember when we were 
kids at school. We were lovers then. I remember well when I 
left school and got my first job. Gee! I was happy at seven 
dollars per. I figured out how two could live on that amount 
plus an allowance from dad. You remember we wanted to elope 
and we nearly succeeded. 

Leola. Y r es, I remember. 

Ted. There's no need of that now. We're both of age. And 
so far as the financial end is concerned, we needn't worry. Leola, 
I want you now! 

Leola. Let's wait until dad gets home. 

Ted. In two months — then we'll make it sure? 

Leola. Yes. 

Ted. Leola, I love you! (He kisses and caresses her.) 
Enters Will from right. 

Will. I think I got in wrong here. (Turns to go. He med- 
itates. Coughs artificially.) (They release their hold.) That's 
all right, just finish up, I've got lots of time. 

Ted. W 7 ell Bill, what do you want? 

Will. I don't want anything. Just figured on trespassing on 
this property. It cuts off quite a bit to come around this way 
to go to the bachelor's camp. 

Ted. Y r es, it does save some. 

Will. Now, if you don't mind, I'll just tip-toe across this 
stretch without causing the slightest vibration. (Tip-toes to left 

6 



of stage.) 

Leola. You didn't even move the swing. 

Will, Yet I fear I am causing some little delay in the move- 
ments of the occupants. By the way, Ted, did you see Tom? 

Ted. No, I suppose he's at the camp. 

Will. I presume he is. Big John is celebrating his birthday 
and he's setting 'em up at the camp. I suppose you'll be there. 

Ted. Yes, I promised the boys I would. 

Leola. Go with him, Ted. I'm going to take a dip. My 
usual hour, you know. 

Ted. (Rising.) All right. I'll see you later then? 

Leola. Yes, I'll be through in half an hour. 

Ted. (At left of stage.) I'll fan your hair for you. 

Will. And I'll promise not to distrub you. 

(They exit. Leola crosses toward door in cabin.) 
Enters Lucille from right. She is carrying a book in one 
hand and a suit case in the other hand. She is attired in a walk- 
ing dress.) 

Lucille. (Upon entering.) Hello, Leola! 

Leola. (Turning.) Hello, Lucille! (Rushes toward her.) 
You really came after all. (Kisses her.) 

Lucille. Yes, if only to evade several persistent suitors. 

Leola. I'm glad you came. (Takes her suit case.) Tell 
me all the news. I'm just dying to hear something real exciting. 
(She places the suit case on the porch.) 

Lucille. I've been too busy refusing proposals to interest my- 
self in anything else. Me for the quiet life for a while. 

Leola. You can't blame the men altogether, your popularity 
amongst them creates this aggressive rivalry. It sort of hurries 
them to pop the question for fear another's proposal might meet 
serious consideration on your part. 

Lucille. Nothing like that yet. I'm too happy as I am to 
seriously consider any of them. 

Leola. What's that you're reading? 

Leola. "A month minus one week," (Laughs.) It isn't so 



bad. (A letter drops from book.) 

Leola. (Picks up the letter.) You dropped something. 

Lucille. {Turning.) Oh, did I. 

Leola. {Looks at envelope.) I've seen that handwriting 
before. 

Lucille. Possibly. It's from an old flame of mine. 

Leola. Oh ! It looks like Mr. Erford's handwriting. 

Lucille. Do you know him ? 

Leola. Yes. 

Lucille. He's a great flirt. 

Leola. 1 heard so. Tell me. do you know anything about 
him. 

Lucille. Do 1? Well, I should say. He proposed to me. 

Leola. He proposed to you? 

Lucille. Yes, twice. Once by mail. I think this is the letter. 
(Opens it.) Yes, this is the one. Rea(J it — it's interesting. (She 
reads it.) He certainly knows how to use flowery language don't 
you think so? 

Leola. He writes a very fine love letter. 

Lucille. Yes, he's quite a dreamer. 

Leola. I love dreamers. 

Lucille. How long do you know him ? 

Leola. I only met him about a month ago, out here. 

Lucille. Oh, is he out here now? 

Leola. Yes. 

Lucille. Has he been seeing you often? 

Leola. Almost every day. 

Lucille. You don't say. Wliat does Ted say about it? 

Leola. He don't know. (She returns the letter.) 

Lucille. I'd cut him out if I were you. He's fickle. 
Enters Tom Erford from left. 
Tom. Good morning! (Tips hat. They bo to. Leola smiles.) 
I'm surprised to see you out here, Lucille. 

Lucille. So am I to see you. (She rises and crosses to 
cottage.) 



Tom. Don't let me disturb you. I'll return later. 

Lucille. I've got to go in and unpack my suit case anyway. 

Tom. Do you ne#d any assistance? 

Lucille. No, thanks. (She exits.) 

Tom. (To Leola.) Were you talking about me when I en- 
tered. 

Leola. No. (Sits in swing.) 

Tom. I'm glad to hear you weren't. I wouldn't want you 
to take everything she says seriously. She likes to talk a whole 
lot. 

Leola. Why arn't you at the camp? 

•Tom. I just come from there. You don't object to my 
calling, do you? 

Leola. No, certainly not. 

Tom. May I sit down here. 

Leola. Yes. (She takes her bracelet from arm.) 

Tom. (Notices her.) Leola, why did you take your bracelet 
off. (Takes hold of it.) You know I wished it on and you were 
supposed to keep it there until tonight. (He takes the bracelet 

off-) 

Leola. (Indifferently.) I never thought about that. 

Tom. Let me wish it on again. 

Leola. I will, under one condition. 

Tom. And that is? 

Leola. You must tell me what you wished. 

Tom. Is that fair? 

Leola. Why not? 

Tom. Under those circumstances I may not wish just what 
I would like to. 

Leola. Well then, I suppose it'll have to remain as it is. 
(She pulls her hand over on to her lap.) 

Tom. (Places the bracelet on her arm.) It's rather childish 
anyway to do these things — and yet, it helps to pass the time 
away when there's nothing else of interest to talk about. 

Leola. Did you make a wish? 



Tom. Yes. My first wish holds good. 

Leola. The one you made yesterday? 

Tom. Yes. 

Leola. Is it something that you expect very far in the 
future ? 

Tom. No. I'd just as soon it would happen now. 

Leola. Then it hasn't come true yet? 

Tom. I don't know. 

Leola. Can't you find out? 

Tom. {Slight pause.) Leola, I wished that you would learn 
to like me better each time I called. 

Leola. Why, I can't like you better than I do. 

Tom. I mean it in a broader sense. Leola. I love you! 
(Makes a movement toward her.) 

Leola. (Turns away.) Now you spoiled it all. 

Tom. What, Leola? 

Leola. 1 — I thought we would be such goods friends. 

Tom. (In a tremor.) I love you, Leola — I love you. (He 
kisses her hand.) 

Leola. I'm sorry, Tom. 

Tom. I don't want you to be sorry. I want you to be 
happy! [With another movement toward her.) Leola! 

Leola. Don't! Don't! (She rises.) 

Tom. (Riscing.) Can I hope, Leola? 

Lfola. I'm afraid not. 

Tom. Why? 

Leola. I don't care for you in just that way. 

Tom. We haven't known each other very long. I loved you 
the very first moment I saw you. Possibly you haven't had time 
to know me well enough. 

Leola. It isn't that. I like you Tom. In fact, I like you 
too well to pull you on with something that can never be. 

Tom. Don't say that. Where there's life there is hope. 

Leola. I don't see what there's to love about me! There 
are lots of prettier girls then I am — Lucille, for instance, and 

10 



scores of others. 

Tom. Are you trying to discourage me, or have you been 
hearing things? 

Leola. Neither, exactly. 

Tom. Did Lucille speak about me to you? 

Leola. Yes. 

Tom. I suppose she told you that we were very good friends 
some time ago. 

Leola. Yes. 

Tom. Is that all she told you? 
Lucille enters from cottage. 

Lucille. Are you going in for a dip today, Leola? 

Leola. Yes, I ought to be going now. Are you going? 

Lucille. Not until tomorrow. I don't feel very well today. 

Leola. You entertain Tom while I get ready. Excuse me. 
{To Tom.) 

Tom. Certainly. {Leola exits.) How long do you know, 
Leola ? 

Lucille. Oh, possibly half a year. 

Tom. You met her after our little misunderstanding then. 

Lucille. Yes, if that's what you call it. I met her at the 
art school. We are both studying there you know. 

Tom. I didn't know you were. 

Lucille. I've always been interested in the work. We are 
going to have an art exhibit at my home some time in November. 
You don't want to mind that. 

Tom. I won't if I get an invitation. 

Lucille. Leola will do the inviting. {She sits in swing.) 

Tom. Do you devote very much time to the work ? 

Lucille. I do a little every day. 

Tom. I'm glad to hear that. Then you've cut out some of 
your frequent visitors. 

Lucille. Just a few undesirable ones. 

Tom. Do you class me amongst the undesirable? 

Lucille. No — what makes you think so? 

11 



Tom. I didn't think so. 1 just wanted to make sure. You've 
been speaking about me to Leola, I suppose? 

Lucille. Yes, today for the first time. 

Tom. What did you tell her? 

Lucille. We haven't had time to say more than that I knew 
you ,and that she knew you — and — well, that's about all. 

Tom. Your quite sure? 

Lucille. Of course I'm sure. What makes you doubt me? 

Tom. I've always had that habit of doubting you lately, 
haven't I? 

Lucille. Yes, and it's very annoying. If you'll excuse me 
I'll get something to read. (Exits.) 
Enters Ted from right. 

Ted. Rather cold reception, eh? 

Tom. Rather. Have you been listening? 

Ted. (Sternly.) For some time. 

Tom. What's bothering you Ted ? 

Ted. A whole lot — you in particular! 

Tom. I ? 

Ted. Yes, you! (Speaks close to his face.) 

Tom. Y T ou've been drinking, Ted. You better chew some cloves. 

Ted. Cloves, be damned! 

Tom. Well, I really 'do believe you're serious. 

Ted. Y T es, and you'd better be careful too when I am serious! 
You've been trying to make love to Leola! 

Tom. In what way does that concern you? 

Ted. In every way! Leola and I have been lovers for years. 
I'm all but engaged to her. We are only waiting for her father 
to sanction such a move by her! 

Tom. I didn't know that. 

Ted. Well, I'm telling you. 

Tom. I'm glad you did. 

Ted. You'll have to cut out trying to make love to her. She's 
not that kind. 

Tom. What do you mean by "Not that kind"? 

12 



Ted. You know. 

Tom. I don't understand what you mean by connecting my 
position with your contemptuous remark. 

Ted. Well, to be more explicit, she's not the spoony kind 
youire generally looking for. 

Tom. That's an insult, Ted, and you're the last one I'd credit 
with such a remark. I love her — do you hear — I love her! It is 
unfurtunate, indeed, that we both love the same girl. 

Ted. After what she told you I should think you'd understand 
that she cares more for someone else. 

Tom. I didn't exactly construe it that way. 

Ted. You're mighty dence then. 

Tom. Ted, I'm not accustomed to allowing people to speak 
to me in such an uncivil manner, without retorting with a 
severe tongue thrashing. I advise you to take a good long sleep 
to shake off the effects of the liquor you've been drinking. 

Ted. I know what I'm talking about, even though I did have 
a high-ball or two. 

Tom. It isn't so much what you had today, but the grouch 
you've "got on" after awakening the old one of last night. 

Ted. What old one of last night? 

Tom. The one you got at the dance on the country road — 
that tire trouble of yours. 

Ted. Who told you? 

Tom. The boys. 

Ted. That hasn't anything to do with our affair now. 

Tom. Xot directly; I just wanted to remind you that you're 
not an angel by any means. 

Ted. Well, who said I was an angel? 

Tom. Nobody. (Slight pause.) I'd like to have a sensible 
talk with you if I knew that you would appreciate it. 

Ted. Appreciate what? 

Tom. I believe I said a sensible talk. 

Ted. Well ? 

Tom. Will you sit down for a few minutes? 

13 



Ted. I'm just as comfortable standing. 

Tom. That's a very insensible beginning. (Crosses to him.) 
You say that you love Leola? 

Ted. I do, and have for years. 

Tom. What objection is there to my feeling the same as 
you for Leola? I'm sincere in my love, and I have no doubt 
that you are too. Now then, let us be fair and square in this 
affair. Let her choose between us. If I loose I'll acknowledge 
my defeat by withdrawing. If I am successful I'll expect you 
to do the same. Isn't that fair? 

Ted. Well, 'why don't you withdraw then? 

Tom. Why? 

Ted. She told you that she doesn't care for you in that 
way. 

Tom. Women are hard to understand. They say one thing 
and mean the other. I've only approached her once on this sub- 
ject. Until I am convinced that there is no hope for me I don't 
see what should prevent me from trying. 

Ted. I'd advise you to stay away. 

Tom. I can't see any logical reason why I should. 

Ted. Leola isn't the first girl you've tried to make love to 
out here. 

Tom. You are adding injury to insult now. To say you are 
lying is placing it mildly. Who told yau? 

Ted. No one in particular. They all seem to konw it. 

Tom. Who, for instance? 

Ted. I don't care to mention any names. 

Tom. Who is the girl they connect in the affair 

Ted. Miss Hatton is one. 

Tom. Mrs. Hatton, if you please. 

Ted. Oh, is she married? 

Tom. She was. 

Ted. Oh, a widow — still worse. 

Tom. Yes, she's my sister. Any objection to her brother 
kissing her? 

14 



Ted. I didn't know you had a sister. 

Tom. You see, Ted, how very easily people can be mistaken. 
They are even ready to jump at conclusions. 

Enters Lucille and Leola from cottage. Leola wears a 
long bath robe. Lucille carries a book. 

Lucille. Who will direct me to a nice nook near by? 

Leola. Ted knows several pretty places. 

Ted. I'll take you to one. 

Lucille. Thank you. 

Ted. {To Leola.) Will you be in the water very long? 

Leola. No, about five minutes. I'm just gonig to take a 
dip. 

Ted. I'll be back in time to keep my promise. 

Leola. All right. {Runs off right.) 

Lucille. {To Tom.) Kindly excuse us. {Tom bows slight- 
ly.) {Tom crosses to easel, takes the picture in he hands and 
admires it.) 

Enters Bill from left. 

Bill. Hello, Tom. Where's Leola? 

Tom. She's taking a dip. 

Bill. You waiting for her to return? 

Tom. Yes. 

Bill. You've been visiting her quite often lately. Anything 
serious ? 

Tom. Perhaps. 

Bill. I'm afraid its more serious than you imagine. I met 
Ted at the bachelor's. He's very jealous. 

Tom. Yes, I know. 

Bill. I want to give you a tip. Be careful of Ted — especially 
today. 

Tom. Why ? 

Bill. He said several things that cause me to believe that 
he's a dangerous chap to deal with. 

Tom. Dangerous? In what way? 

Bill. He told me very emphatically that if he caught you 

15 



making love to Leola, he'd kill you. 

Tom. {Laughs.) The little fool. 

Bill. His remark carried with it an air of determination, I, 
for one, didn't like. I'd advise you to stay away from here today. 

Tom. Do you think that he'd be fool enough to do it. 

Bill. I'd dislike to see you take the chances. Come, Tom, 
let's go over to the hotel. 

Tom. I really believe you are afraid. 

Bill. I am; such things have happened before, you know. 
Come on, Tom, {Takes him around waist e.) let's play tennis. 

Tom. I will in just a few minutes. I want a word with her. 

Bill. Won't tomorrow do as well? 
Re-enters Lucille and Ted. 

Lucille. {Looking searchingly on the ground.) Did you 
see a silk handkerchief lying about here? 

Bill. Hello, Lucille! 

Lucille. {Looking up.) Hello, Will! How are you? I 
haven't seen you for several weeks. Why don't you call? 

Bill. There's a stringency in the money market just now. 
(Tom crosses toward easel and looks at picture.) 

Lucille. What's that got to do with it. 

Bill. It sort a put me out of the running. I sold my auto- 
mobile so that I could afford to keep up with the common people. 

Lucille. I'm sorry it struck you so hard. 

Ted. {Finds handkerchief on hammock.) Is this the one? 

Lucille. {Taking it.) Yes, thanks. {To Bill.) I've moved, 
you know. 

Bill. Oh, is that so? Who moved you? 

Lucille. Who moved me? 

Bill. Pardon me — I — I ment where? 

Lucille. Apartment Five, in the New Brevoort. 

Bill. Oh, the New Brevoort — quite a fashionable apartment 
house. 

Lucille. Yes, it's quite exclusive, too. You must call some- 
time when I get back to the city. I'll show you the apartment. 

16 



Bill. I shan't fail to do so. 

Lucille. I'll see you later. I've come to an interesting 
place in this book and I'm just dying to continue. 

Bill. I can imagine at what stage of the story you are. 

Lucille. (Slightly cmbarrased.) You're too observing. 
[Covers up the title. She exits with Ted.) 

Bill. (To Tom.) When did she come out? 

Tom. This afternoon. 

Bill. Stopping here? 

Tom. Yes, with Lee. 

Bill. That makes it rather bad for you. 

Tom. You seem to know her quite well. 

Bill. I do, and I'd give up anything I possess if I could 
tame her. Strange you never mentioned her faults to me. 

Tom. Nothing strange about that. Opinions differ. You may 
like what I dislike, or see and judge things with quite a different 
mind. 

Bill. Hardly possible in her case. 

Tom. Too bad so pretty a face bears so evil a tongue and 
so weak a mind. 

Bill. I think both of us had the same sort of spell. Head 
and heels in love with her, eh? (Laughs.) 

Tom. A mere infatuation on my part. A pretty face, a per- 
fect figure, a winning smile, are her only assets. She's heartless 
and devoid of the noblest of virtues — honesty and sincerity. 

Bill. To a great degree. 

Tom. It's pitiable. Bill. New York is full of pretty girls 
who have gone to the dogs with just such a beginning. If I 
weren't so devilish poor and were free from the bondage of love 
elsewhere. I'd sacrifice every drop of my blood to save her from 
herself. 

Bill. How would I do? 

Tom. First rate. You've got money, and I think she likes 
you too. She's on the verge now, and if you can win her over, 
heart and soul, she'll make a dear, sweet wife. 

17 



Bill. I don't doubt the dear part of it. Fve spent half a 
fortune on her already. 

Tom. Do you care enough for her to spend the other half? 

Bill. I've tried hard to hold myself in check against it. 

Tom. Then you still love her? 

Bill. I'm afraid I do. I want your advise and assistance. 

Tom. Assistance I cannot offer. Advice there is but little for 
me to give you. Play hearts always, save your diamonds until 
after you've won out. 

Bill. Suppose she strikes back with her clubs and with the 
assistance of her spades, digs deeper and deeper into my diamond 
suit. {Digs both hands deeply into his trouser pockets.) 

Tom. I wouldn't renege. I'd play the hand I hold — declare 
hearts trump — play them repeatedly and save your diamonds to 
complete your count. Her hand of clubs and spades will fade 
with every play you make, and at the end of the hand you'll have 
won every black card in the deck, and when you play the second 
hand, deal her only hearts and force her to lead the play to you. 

Bill. That's somewhat deep, but I think I catch the point 
all right. 

Tom. In other w r ords, make sure she loves you before you 
show her your bank account. 

Bill. Let's go over to the hotel and talk this over. 

Tom. I will in just a few minutes. I want a word with 
Leola, 

Bill. Won't tomorrow do as well? 

Tom. {Looking off right.) She's coming out of the water 
now. I'll follow you in less than ten minutes. 

Bill. All right, have it your way. {Starts left.) There's 
Ted now. Do you see him? 

Tom. Yes, he's going toward the camp. 

Bill. Apparently. Bear in mind what I told you. {Exits.) 
{Tom crosses toward easel and scrutinizes the picture. Leola 
enters from right.) 

Leola. {Crossing up.) How do you like the picture now? 

18 



- Tom. I think it's great! You've developed it wonderfully 
since yesterday. {Points at picture.) What does this represent? 

Leola. {Smiling.) An interruption. 

Tom. {Doubtfully.) A what? 

Leola. In other words, an abrupt disturbance. I was fright^ 
ened — that's the result. It's easily remedied though. {Crosses: 
to cabim.) 

Tom. Can I see you a few minutes after your dressed? 

Leola. I don't mind. 

Ted enters unperceived from right; he crosses behind a 
tree in right center.) 

Tom. I don't like the way you say it, Leola, 

Leola. How would you have me say it? 

Tom. It's hardly fair for me to tell you. 

Leola. I'm willing to learn. 

Tom. I don't know just how to take you, 

Leola. I've been told that frequently. Even my dearest 
friends find it difficult. 

(Bill enters softly from left and crosses directly behvnd 
Ted.) 

Tom. Leola, I want to be one of your dear friends. {Takes 
hold of her hand.) And I want to understand you. 

(Ted makes a move icith hand toward his hip pocket,) 

Leola. I'm afraid you never will. 

(Bill succeeds in taking the revolver from Ted's pocket 
and places it in his own.) 

Tom. {Makes a movement toward her.) Leola! {She turns 
aside He lowers his head and kisses her hand. Ted meanwhile 
makes a quick move for his pocket. Upon finding it empty tfie, 
turns abruptly and stands face to face with Bill, while the cur- 
tain drops upon the picture.) 



19 



THE SECOND ACT. 

Lucille's Apartment, 'New- York. The scene represents a hand- 
some apartment in the home of Lucille, elegantly furnished with 
a modern parlor suit. The icalls are almost entirely covered 
with oil and water-color paintings, the majority being unframed. 
There is a large window in the back wall, a door in the right wall 
and another* in the wall left. At rise of curtain Ted is discovered 
on a small ladder, hanging a picture on the back wall, while 
Lucille is standing in the center of the room. Leola is busily 
engaged arranging a large boquet of American beauties in a vase 
on the mantle-piece left. 

Ted. {Hanging picture.) How's vthat? 

Lucille. A little higher. 

Ted. That better? 

Lucille. Just a trifle to the left. (Modes it.) There, that's 
about right. Don't you think so Leola ? 

Leola. (Turning.) Yes. {Slight pause.) I can't get all 
these flowers in this vase. 

Lucille. Use the other one on the table. Have you discov- 
ered a card yet? 

Leola. (Taking other vase.) No, there's no card here. 

Lucille. That's strange. 
"Leola. Somebody must have sent them. 

Lucille. I didn't order any flowers. Only the ferns, and they 
haven't arrived yet. (Door bell rings.) 

Leola. I suppose that's the florist now. (Lucille exits right.) 

Ted. (Coming down from ladder.) Anything else I can do? 

Leola. You may pick up these leaves. 

Ted. (Picks up the leaves.) I've been wanting to see you 
alone since I came here. Your father — did he come home? 

Leola. Yes, this morning. 

20 



Ted. Did you ask him. 

Leola. Yes. 

Ted. What did he say? (Anxiously.) 

Leola. He'd think it over. 

Ted. {Disheartened.) Another delay? 

Leola. Perhaps. He wants a talk with you, I think. 

Ted. IT1 go over and see him now. 

Leola. He's not in the best of humor today. 

Ted. Hang it all, Leola. I'm not going to marry your 
father anyway. Let's decide now. {Takes hold of her hand.) 

Leola. You're not afraid of him? 

Ted. It isn't that, Leola. I want your answer first. 

Leola. There was a time not so very long ago when you 
knew how to propose. 

Ted. {Brightening.) I'm not entirely devoid of the art of 
making brilliant speeches, but I've entirely exhausted my power 
of originality. I can only repeat again and again, I love you — 
I love you — I love you! {She sinks into his ready embrace.) Are 
we engaged? 

Leola. I don't know. 

Ted. I've got the missing link. {Takes a ring from his 
pocket and places it on her finger.) There, now we are engaged. 

Leola. (Sighs.) I suppose so. 

Ted. Leola, do you love me? 

Leola. Of course I love you, Ted. I wouldn't permit you to 
kiss me if I didn't. 

Ted. I'm trying hard to understand you. I feel so restrained. 

Leola. I wouldn't if I were you. I'd just do things. 

Ted. Leola! (He kisses her.) 

Lucille re-enters with two boxes of flowers. 

Lucille. If I catch you doing that again I'll announce your 
engagement. 

Ted. You might as well do it now; its all settled. 

Lucille. (Surprised.) What? Is that on the level? 

Leola. (Showing ring.) Isn't it a beauty? 

21 



Lucille. (Looking at it.) My, I should say so; the size of 
it too. I'll bet it cost Ted a few hundred anyway. 

Leola. I hope not. I never cared very much for expensive 
jewelry. 

Lucille. It's made you very happy anyway, and that's worth 
a whole lot. I congratulate you, Ted. {Extending hand.) 

Ted. Thank you, Lucille. ( Takes her hand. ) 

Lucille. You have chosen an appropriate moment. The 
very atmosphere seems to suggest, as well as appreciate your 
action. ( Gives her a box of flowers. ) 

Leola. For me. 

Lucille. Yes. 

Leola. From whom? 

Lucille. I don't know. 

Leola. (Smiling.) My, bless their hearts. (Takes box and 
opens it.) 

Lucille. (Opens the other box.) I know from whom these 
are without opening the box. 

Leola. From Will ? 

Lucille. No. I'll bet there from my new acquaintance — the 
theatrical manager. 

Leola. (Noticing card.) Oh, Ted — thank you. 

Ted. Shall I get a vase. 

Lucille. Yes, you'll find some in the library. Bring two. 

Ted. All right. (Exits.) 

Lucille. (Noticing card.) You were right — they're from 
Will. 

Leola. I'm anxious to know who sent those' American beaut- 
ies. 

Lucille. Possibly Tom. 

Leola. That may be. 

Lucille. Did you send him an invitation ? 

Leola. Yes. 

Lucille. Do you think he'll come? 

Leola. He said he would. 

22 



Lucille. I thought perhaps he wouldn't. 

Leola. Why ? 

Lucille. The exhibit is at my house, you know. Well, we 
won't miss much anyway. 

Leola. Lucille! {With some little surprise.) 

Lucille. You're not anxious to see him, are you? 

Leola. He's always been very kind and pleasant to me. 

Lucille. He's a failure all around. His play was a fisle. 
They shelved it after the first week. 

Leola. I thought it was clever. The people didn't appre- 
ciate its real value. It was too heavy for them that's all. 

Lucille. That's his second failure. 

Leola. I'm sorry he didn't succeed, and I hope he don't give 
up. 

Lucille. Poor fellow, I really ought to feel sorry for him, 
too. 

Leola. He's done you a great honor and you really ought 
to at least* sympathize with him. 

Lucille. I pray you, what honor. 

Leola. He's asked you to be his wife. 

Lucille. (Laughs.) The idiot. 

Leola. Not for asking you, I'm sure. 

Lucille. Certainly not. Quite the reverse. He's done you 
the same honor and I suppose by this time he has honored one 
or two more. 

Re-enters Ted with tico vases. 

Ted. These large enough? 

Lucille. Yes, plenty. (Takes a vase and arranges flowers.) 

Leola. (Same play.) 

Enters Will from right. 

Will. Hello, girls. 

Lucille. (Somewhat frightened; turns.) Will, where did 
you come from? 

Will. The office. 

Lucille. How did you get in here? 

23 



Will. Your door was wide open. I thought I'd take you by 
surprise. {Observing room.) My, but you've got things in tip- 
top shape. 

Lucille. Yes, thanks to Ted. 

Will. Oh — been here all day, Ted? 

Ted. Part of the afternoon only. 

Lucille. Accept my thanks, Will, for these flowers. (She 
2>l<iccs them on table right.) 

Will. Not at all — a mere trifle. (He crosses to Ted and 
shdlxcs hands.) 

Leola. Shall I leave these flowers where they are? 

Lucille. Yes, they look pretty there. 

Ted. When do we eat? 

Lucille. Oh, you poor, dear boy, you must be nearly starved; 
you really earned a good, square meal, but I'm afraid you'll have 
to be content with a cold luncheon and hot coffee. 

Ted. Anything at all so long as it is eatable. 

Lucille. I'll go right in now and prepare something. 

Leola. I'll fix the table in the meantime. 

Lucille. You'll find some cigarettes in that black box on 
the mantel-piece. (They exit.) 

Ted. Thanks. (Crosses to box on mantel-piece and takes a 
cigarette.) Have one : Will? 

Will. Yes. (Lights cigarette.) I see your favorite mare 
lost every heat in the races yesterday afternoon. 

Ted. Yes, damn the luck! 

Will. Did you lose very much? 

Ted. No, just a few hundred. 

Will. You've been hit rather hard lately. I thought your 
losses at the suburban put a finishing touch to your desire to 
play the races. 

Ted. Well. I did want to cut it out, but I managed to get 
good odds, and I was almost sure of the long end of the stake. 

Will. You received a friendly tip, I suppose. 

Ted. Yes, he seemed to know the whole record and pedigree 

24 



of the mare. 

Will. That's the way the professional gamblers work their 
game. The tip is their bate — they themselves play the other 
•ray. Unless you have money to lose and a mind of your own, 
I'd advise you to quit the game. 

Ted. I've cut it ought for good now. 

Will. I'm glad to hear it. The sooner you quit trying to re- 
cuperate your losses by continuing this game of chance and de- 
ception, the quicker you'll increase your bank account. 

Ted. {Bites nervously at his cigarette.) Damn this strin- 
gency in the money market. {Takes another cigarette and lights 
it.) 

Will. What's Tom working so hard for these days? 

Ted. I don't know. 

W t ill. He works until nine nearly every evening at the office 
and then goes home and writes until midnight. He hasn't been 
out one night in the last two weeks that I know of. What's 
keeping him at the office, Ted? 

Ted. {Thoughtfully.) I don't know. W 7 ho told you that 
he was putting in overtime? 

Will. He did. I thought you knew. 

Ted. He leaves at his usual hour every evening. 

Will. For something to eat, I suppose. 

Ted. {Looks nervously at time-piece.) You think he's there 
tonight ? 

Will. I suppose so. 

Ted. Is your machine down stairs? 

Will. Yes, my runabout. 

Ted. Can I use it for half an hour? 

Will. Yes, I'll be here for half an hour anyway. 

Ted. Thank you. {Crosses toivard exit right.) 
Enters Leola from left. 

Leola. Luncheon is ready. {To Will.) Will you join us? 

Will. Just to be sociable, I'll take a dematasse with my 
smoke. 

25 



Ted. You'll have to excuse me, Leola, I'll be back in a little 
while. 

Leola. I thought you were hungry. 

Ted. Oh, I was just joking. It won't take but a few minutes. 

Leola. It's all ready for you. You really must eat before you 

go- 

Will. What's your hurry, Ted? 

Ted. It's a little matter of business. 

Will. Business oughtn't worry you at this hour of the day. 

Leola. I insist that you eat first. A few minutes later 
won't make very much difference. 

Ted. (Looks at time-piece.) Well, I guess I can spare a 
few minutes. (Crosses right.) 
Door bell rings. 

Leola. Lucille is waiting for you in the dining room. Tell 
her I'm answering the bell. (She emits left. They exist right. 
Slight pause.) 

Re-enters Leola, folloiced by Tom. 

Leola. Your just in time for supper. 

Tom. I've had mine, thank you. 

Leola. Won't you join us in a cup of coffee? 

Tom. I couldn't eat a morsel or drink a drop if I tried. I'm 
forced to refuse, though with great reluctance. 

Leola. Join us in conversation then. 

Tom. If you don't mind, I'd just as soon pass the time 
looking at the exhibit. You've certainly got a splendid collec- 
tion. I'm anxious to view them separately. 

Leola. You'll excuse me then. We'll be through very soon. 

Tom. Don't hurry on my account. I'll be very well enter- 
tained. (She exits. He looks at pictures crossing slowly toicard 
the vase containing the American beauties. While passing he 
smells of them, taking a deep breath, sighing audibly as he does 
so. He then crosses to table and views the pictures on the wall 
right, his hand resting on a book lying on the table. His eyes 
drop toicard the book, he picks it up and pages it until he comes 

26 



across two envelopes.. Their discovery surprise him. He takes a 
letter from one of the envelopes and reads it. Slight pause. The 
hand bearing the letter drops to the table and he assumes a stern 
and bitter expression. After slight pause he places the letters in 
his pocket and resumes viewing the pictures. 
Enters Ted from right. 

Ted. Good evening, Tom. 

Tom. {Turning.) Good evening, Ted. 

Ted. How is it you're not working tonight? 

Tom. I've finished the job. That's one reason why I'm here. 
I've come to see you more than anyone else. 

Ted. What about ? 

Tom. I don't care to discuss the matter in this house. I must 
see you, however, alone tonight at my home. 

Ted. What for? 

Tom. That's a subject we'll discuss later. 

Ted. I expect to be quite busy here tonight. 

Tom. You can do exactly as you choose, but as a friend of 
yours. I would advise you to come and see me tonight. 

Ted. Why tonight? 

Tom. Because one can never tell what may happen tomor- 
row. 

Ted. I'm afraid I don't understand you. 

Tom. (At his side.) The bank examiners are due at the 
office in the morning. {Ted steps back in surprise.) That's all 
I will say just now. You will come — tonight? 

Ted. Yes — . {He crosses right.) 

Enters Will from right, meeting Ted at door. Ted exits. . 

Will. {Coming down.) What's the matter with Ted? 

Tom. I don't know. 

Will. He's nervous and flushed. He was hungry fifteen min- 
utes ago and when he sat down to luncheon the food he placed 
into his mouth wouldn't fill the cavity in my wisdom tooth. 

Tom. Slightly indisposed., I presume. 

Will. By-the-by Tom, has Leola broken the news. 

27 



Tom. What news? 

Will. She didn't tell you then? 

Tom. Nothing that would cause me to be doubtful as to 
what you mean. 

Will. Ted and she are — (Hesitates.) I believe I'll let 
Leola tell you. 

Tom. (Apprehending. In complete surprise.) Engaged? Ted 
and Leola — engaged to be married? 

Will. Yes. 

Tom. When did they announce it. 

Will. Xot five minutes ago. (At his side.) I'm sorry, Tom. 

Tom. I'm sorry too — for her. As for myself, I've never been 
very fortunate. I tried cards once and nearly lost everything 
1 owned. I tested the maxim — "Unlucky at cards, lucky in love" 
— and failed at that. God knows I love her dearly! It's mighty 
hard to be a loser all around. 

Will. Your luck may take a turn suddenly. 

Tom. What — in cards? 

Will. All around, . I mean. Leola is coming: I'll leave you 
alone with her. (Exits right.) 
Leola enters from left. 

Leola. How do you like the exhibit? 

Tom. It's immense, Leola. Y 7 our work is deserving of higher 
honors. 

Leola. What do you mean by "higher honors"? 

Tom. The prices you have labeled them with are altogether 
too low. I've seen pictures of less artistic value command fifty 
times the price you ask for many equally as good. Y 7 our technic 
and originality of expression in that Venician painting is marvel- 
ous. \ 

Leola. You are flattering the exhibit. 

Tom. You are doubting my sincerity. I can't blame you 
however. With all the things you heard about me. it must be 
hard for you to take me seriously. 

Leola. You take offense so easily. 

28 



. Tom. Not by choice, I assure you. Leola. Your paintings are 
works of art and I think they are very beautiful and artistic. 

Leola. It's very kind of you to say so. 

Tom. I haven't noticed any of Lucille's work. 

Leola. There are several of her paintings in this room. That 
country scene in the corner is one of her's. 

Tom. {Looking at it.) Pretty good work for a beginner. 

Leola. That's not her best work. She has several prettier 
paintings in the other room. Do you want to see them? 

Tom. Yes — in just a minute. I want to see you first. (Leola 
crosses down; Tom follows.) Leola — {Takes hold of her ring 
hand. He speaks sloivly, pausing after each sentence.) I have 
often taken the liberty of placing your hand in mine. You have 
challenged my sincerity of doing so several times. I felt sure I 
could convince you that I always was most sincere. I tried hard 
to make you believe in me. This ring tells me that I have 
failed. 

Leola. I do believe in you, Tom. 

Tom. I've lost you, Leola, and with it I've lost my hope in 
life. (Drops her hand.) 

Leola. (Turning to him; sympathetically.) Tom. 

Tom. Leola, I'm not doing this for effect or for sympathy. I 
want you to know the truth, that's all. (Slight pause.) Lucille 
told you that I proposed to her a year ago, didn't she? 

Leola. Y"es. 

Tom. She also told you that I was fickle. 

Leola. Yes, I believe she did. 

Tom. That's something I admire in you. 

Leola. What — that I am fickle? 

Tom. No, no, Leola — your honest and ready response. 

Leola. (Smiling fawntly.) Oh! 

Tom. She told you too, I believe, about a certain other love 
affair of mine. 

Leola. Y^es. 

Tom. I don't know why she told you all these things. It's 

29 



true that I loved several times, but I was never fickle. In meet- 
ing you my whole life seemed to change. I never knew a greater, 
a purer love in my life! 

Leola. I'm so sorry, Tom. 

Tom. I don't want you to be sorry. I just want you to 
know that I am not nearly as bad as they would have me. (Ex- 
tending his hand.) Leola, I wish you joy and happiness in bound- 
less measure. 

Leola. Thank you, Tom. 

Tom. Now, I'll look at the pictures in the other room. 

Leola. (Crosses toward door left, followed by Tom.) I'm 
sure you'll like Lucille's work. 

Enters Ted from left; he is very nervous; crosses to humi- 
dor and takes a cigarette. Enters Will from right. 

Ted. Will, you're just the man I want to see. 

Will. Do you want some money? 

Ted. How did you guess? 

Will. By your singular manner of approach. 

Ted. I don't like to borrow money from my friends; I would 
much prefer to go outside, but I have no security to offer. 

Will. How much do you want? 

Ted. Five thousand. 

Will. (Surprised.) Five thousand! What on earth do you 
intend to do with all this money? 

Ted. Can't you make it? 

Will. Not in ready cash. 

Ted. How t much can you spare? I'll give you eight per cent. 

Will. It isn't the per cent that is worrying me, Ted. I'm 
seriously considering getting married, and I'll need some ready 
cash myself. 

Ted. Oh, are you engaged to ? 

Will. (Interrupting.) Not so loud. 
" Ted. Is that a fact? 

Will. Not yet, but I hope to make it a fact before the 
evening is over. 

30 



Ted. I need the money badly, Will; in fact, I'll need some 
tonight. I must raise it somewhere. 

Will. Must raise it — why? 

Ted. Oh, I can't explain. I just simply must have the money. 
I'll make it all good and right. If I'd have the time I'd get it 
from my dad, but he's out of town. I'll make it all right long 
before you ever need it. Will. 

Will. I haven't got the cash with me, so I couldn't make it 
tonight anyway. 

Ted. A check will do. 

Will. I haven't got a black cheek with me. 

Ted. Where do you bank. 

Will. Fourth National. 

Ted. (Taking a blank check from pocket.) Here is a check 
on the First National, change the First to the Fourth. That'll 
fix it. I'll give you an "I owe you." Will you trust me? 

Will. (Sits.) I'm always willing to help a friend in need. 
I'd like to do it to the full extent, but I'm afraid I can't spare 
more than three thousand. (Writes.) 

Ted. I'll manage to get the balance all right. (Sits and 
tcrites an "I owe you.") 

Will. (Looking up.) Are you in trouble? 

Ted. (Faining surprise.) Why no, Will. What makes you 
ask? 

Will. I only wanted to make sure. It's my money, you know. 

Ted. Your money is safe all right. 

Will. I don't doubt that, but I'm just giving it on an "I owe 
you." Outside of our friendship and our trusting one another, 
that isn't worth the paper its written on. 

Ted. Well, if you don't trust me, of course that's different. 

Will. That isn't the point. I'm usually very careful how and 
where I invest my money. I worked mighty hard for the little 
I've got. In exchange for my generosity I only ask you to tell 
me what you intend to use it for. Not an unreasonable request, 
I'm sure. 

31 



Ted. Well, to be frank with you, Leola wants it. 1 told 
her I'd get it for her the first, thing in the morning. She wants 
to pay oil' a mortgage on her property. 

Will. That isn't such an awfull thing to make such a fuss 
over. 

Ted. No, of course not, but then, you see I always had lots of 
money and I don't want her to know that I'm all in just now. 
In a year or so I'll be on my feet again. 

Will. Here; she'll never know you got the money from me. 

Ted. Thanks. Will. I'll pay it back with good interest in a 
very short time. 

E ntcrs Lucille from left. 

Lucille. Leola has some work for you, Ted. 

Ted. Oli. all right. [He exits left.) 

Will. Anything I can do? 

Lucille. Not just now. Something may turn up later. 

Will. 1*11 hang around and waite v until later then. In the 
meantime I want to talk to you about ourselves. 

Lucille. How interesting that will be {Hits.) 

Will. Who will we discuss first? 

Lucille. Begin with yourself. Possibly Ave won't get any 
farther. 

Will. That's easy. I'll give you myself in a nut-shell. (Hits.) 
I'm a young man of twenty-ei^ht, dark complected, rather regu- 
lar features, some say angelic,- others would make me course, but 
I've compromised with the term "regular features." I'm pro- 
prietor of a profitable business, own two automobiles, have been 
in love several times — though, sad to say, in vain. My heart has 
survived all wounds thus affected and is again vigorously en- 
gaged in the same business. Am willing to share all of the assets 
I possess with a suitable partner. 

Lucille. Is that all. 

Will. That's all the nut-shell holds. (Rises.) As for your- 
self, I can squeeze everything in a one-kernel peanut shell. (He 
leans over her shoulder and speaks close to her face.) Your the 

32 



fairest, sweetest, dearest girl I ever loved, and I want you for 
my wife. 

Lucille. {Rising.) Why Will, I really believe you are pro- 
posing to me? 

Will. I hope I did. I intended it for a proposal. 

Lucille. Your intentions are good, but really I can't consider 
your offer just now. I've turned down a dozen men within the 
last month, so you see you're not the first. 

Will. Lucille, I love you. {He makes a move toward her.) 

Lucille. I will say that I care more for your company than 
that of any other man I know, but I'm happy as I am. I don't 
see why I should tie up with any one man just yet. So let's for- 
get it for a while. 

Door bell rings. 

Lucille. The ferns at last. You may help me carry them in. 
{She exits right; he follows; they re-enter each carrying a fern.) 

Will. Where do you want them? 

Lucille. Right here. {Sets fern down center.) We'll place 
them afterwards. {Exits Will folloivs.) 

Will. {Re-enters with another fern.) I didn't play the 
right card, but I will yet. 

Lucille. {Enters with another fern.) You're slow, there 
are two more. 

Will. That's easy, I thought there were a dozen. {Exits.) 

Lucille. No, I said a dozen proposals. 

Will. (Re-enters carrying two ferns.) I'll promise you that 
the second dozen will be all of the same kind without variation. 

Lucille. That'll be exciting. Place those two ferns in the 
other room while I arrange these in here. 

Will. ( Crosses to door left. ) And I'll start the second 
dozen tonight. (Exits.) 

Lucille starts to place the ferns.. Enters Tom from left. 
He crosses towards door right. 

Lucille. You're going rather early. 

Tom. I remained longer than I expected. 

33 



Lucille. (Coming down center.) I suppose you heard about 
Leola and Ted. 

Tom. Yes. 

Lucille. Quite a surprise, wasn't it? {Tom is visibly affect- 
ed.) Ted's a fine fellow, don't you think so? 

Tom. Yes. 

Lucille. He's very good-looking too. 

Tom. There's no doubt about that. . 

Lucille. They're going to be married next month. (Tom 
remain motionless.) I suppose you'll be at the wedding? (Same 
play.) Leola thought that you might refuse if she'd ask you to 
act as best man. 

Tom. (Turning toward her.) Are you trying to humiliate 
me? 

Lucille. Why no ! What makes you think so ? 

Tom. I doubt whether Leola ever discussed her plans of 
marriage with you. 

Lucille. Why, you don't mean to say that I am lying? 

Tom. Shall I call Leola and ask her? 

Lucille. (Indifferently.) You can do as you please. 

Tom. (Crosses toward door left.) 

Lucille. You're not going to call her and make a scene. 

Tom. Not unless circumstances are such as to develop the 
scene. (Turns toward door.) 

Lucille. (Pleadingly.) Don't call her! Please don't! 

Tom. Why not? 

Lucille. Because she may not like it that I discussed this 
subject with you. 

Tom. Why did you do it then? 

Lucille. Well, I didn't think you — you'd doubt me, and — 

Tom. (Continuing.) Go to the trouble to learn the truth. 
Isn't that it? 

Lucille. No, certainly not! 

Tom. (Coming down.) Did you ever mention anything to 
her about the letter I wrote you? 

34 



Lucille. What letter? 

Tom. The last one. 

Lucille. No. 

Tom. You're quite sure? 

Lucille. Of course I am. 

Tom. Leola told me you did. 

Lucille. (As though recollecting.) I — I think she asked me 
about a letter once. 

Tom. What letter? 

Lucille. None in particular. She just happened to ask 
whether you ever corresponded with me. 

Tom. Why did you just happen to show her the letter in 
question. 

Lucille. I didn't show her. We just talked about it. 

Tom. She told me that she read the letter. 

Lucille. She must be mistaken. I — I burned it the very 
day I received 4t. 

Tom. It must have been fire-proof. 

Lucille. You're insulting me. 

Tom. You're not on the square, Lucille! 

Lucille. You're trying to make a lie out of everything I 
say. 

Tom. I've all but produced the evidence, and I don't like to 
do that unless I'm forced to do it. You didn't burn that letter, 
did you? 

Leola. I did! 

Tom. When ? 

Lucille. Immediately after I read it. 

Tom. You're quite sure then? 

Lucille, Yes. 

Tom. You know, Lucille, I often wished that I had never 
told you what I did in that letter. No news would have pleased 
me more than to know that you really had destroyed it. 

Lucille. Well, I did, and I suppose you're satisfied. 

Tom. I'd rather it were so. (He takes a letter from his 

35 



pocket.) Here is Exhibit A. (Gives it to her.) 

Lucille. {Takes the letter and opens it nervously.) Where 
did you get this? 

Tom. *rom amongst a lot of burned paper. 

Lucille. That's not the letter I destroyed. 

Tom. I only wrote two letters to you in all my life. Isn't 
that so? 

Lucille. Yes, but the other one contained — wellyou know. 

Tom. Oh ! That's the one you burned up. 

Lucille. Yes. 

Tom. {Producing the other letter.) Exhibit B — the other 
letter — quite unburned at that — and not asbestos either. (Opens 
it.) You did show it to her! 

Lucille. No! 

Tom. She knows, enough about it. You might just as well 
have shown it to her. (Reads.) "I never knew what love meant 
until I met you" ! Isn't that a pretty ^line ? It $ame from my 
heart, Lucille! "My heart bears heavily on my pen, and were 
I to write what each beat wispers into my ear I would be re- 
peating at every stroke of the pen, "I love you, I love you, I 
love you"! I thought I knew and understood you, but I was 
much mistaken. You resented my confession of love — you played 
me for more than -a year — you boasted of your many admirers, and 
you all but snapped your very finger in my face, because I had 
nothing more to offer than my love ! You unmasked youself then 
and there! I awakened from my elusive dream! To think that 
1 meant all this! (Pointing at letter.) Weak expresisons of a 
mere infatuation for a pretty face — that's all — a mere weak in- 
fatuation! And now that I have found the one girl in all the 
world whom I could really love — a love that is pure and ever- 
lasting — you — you come between that love as a law-prowling 
thief and steal the very essence of my existence! (Lucille throws 
herself weeping on the sofa) Lies! lies! lies! Nothing but lies! 

Lucille. Don't, don't! You are treating me cruelly! • 

Tom. Cruelly, yes! You are not worthy better treatment. 

36 



You have played your little game of treachery, and I mean to 
strike back blow for blow and bring each lie of yours to bear on 
your conscience — your very life! 

Lucille. Tom, I beg of you, don't, don't! (She takes hold 
of his hand pleadingly.) 

Leola enters on scene from left. 

Leola. {In doubtful surprise.) Lucille! Tom! 

Lucille. {Same play.) Don't, don't! 

Lucille turns away from Leola, who has advanced toward 
them. 

Tom. {Turning toward Leola.) Oh, I didn't know you were 
here. 

Leola. What's happened? 

Tom. Happened? {He looks at Lucille, who looks pleadingly 
at him. To Leola.) Why, nothing happened. We — that is Lucille 
and I were just rehearsing a certain heavy scene in my new play. 

Leola. {Brightening.) Oh, how perfectly fine! Do it over 
again. I want to hear it all. 

Tom. It's quite a trying scene and I'm afraid we've exhausted 
ourselves. Don't you think Lucille retains a natural pose of the 
character she is portraying? 

Leola. Yes, indeed. I've always told her she ought to study 
for the stage. {Lucille grasps the situation and forces a smile.) 

Tom. {To Leola.) I believe I said good-night some time ago. 
I really must go now. {Extending hand.) Good-night. 

Leola. {Takes his hand.) Good-night, Tom. 

Tom. Good-night, Lucille. {Extending hand.) 

Lucille. {Takes his hand warmly.) Good-night. 

Tom. {After crossing to door right, turns.) I wish you both 
great success in your venture! {He exits while the curtain drops.) 

CURTAIN. 

37 



THE THIRD ACT. 

The scene represents the interior of Thomas Erford's Study. 
The wall to the left of the stage is occupied by a medmm-sized 
fire-place. The furniture is in mission style. A flat desk and 
chair occupy the right center of the room. An electric library 
lamp is on the desk. Several combination book-cases filled with 
books occupy the space against the right wall and part way along 
the back wall to the right. . There is a door in wall right and 
another in the back wall; an oil painting is hung upon the back 
wall; several chairs are tastefully arranged; a telephone is on 
the wall right. The room is dark at the rise of the curtain. Tom 
enters from door center 3 takes off his coat and hat and lays them 
carefully on a chair. He crosses slowly toward the desk and turns 
on the electric lamp. He gazes blankly into vacancy, his eyes 
finally closing, while his hand moves slowly over his heart ; all of 
which indicates that he is in a state of great dejection. 

Tom. {Sinks into his chair and whispers audibly.) Leola, 
I love you — I love you! (After slight pause he opens the drawer 
in the desk and takes out his manuscript. After paging it for 
several moments he stops abruptly. He leans forward and clasps 
his hands as though in prayer.) Oh God Almighty — father who 
art in heaven, listen to my prayer! Thou knowest the deep-felt 
sorrow of my heart — the pangs and anguish of my suffering soul! 
I have nothing to work or live for in the future; Thou gavest 
me a heart to love and I have lost it! Death would I gladly 
cherish to life. Oh God, if Thou will grant me just one year of 
success in the work I have started — cheerfully at its expiration — 
at the very hour, I will surrender my soul to Thee! Gladly and 
without fear of death, I await Thy guidance and Thy will! Amen! 
Mrs. Erford enters from door left during the above prayer. 

Mrs. Erford. {At his side.) Were you praying, my son, or 

38 



reading from your manuscript? 

Tom. I was only sililoquizing, mother. 

Mrs. Erford. In what way? 

Tom. I often do that before I place it on paper. {Writes.) I 
thought you were in bed. 

Mrs. Erford. I waited for you. 

Tom. Why waite for me; I'm no child. 

Mrs. Erford. I didn't wait on that account; I stayed up 
purposely to see to it that you would get to bed at a reasonable 
hour tonight. You're killing yourself working so hard, Tom. 

Tom. This is play, mother. 

Mrs. Erford. You never listen to what I say; you need the 
rest and the sleep. 

Tom. {Looking at watch.) It's only half past ten now. 

Mrs. Erford. Your mind needs a rest. All day long you are 
wrestling with figures, and then at night you sit here thinking 
and thinking. 

Tom. You do the same; you sit .here night after night and 
read. You must think while you read. I prefer writing to read- 
ing; I find as much joy in developing a plot as you do in follow- 
ing it while you read. 

Mrs. Erford. You simply won't listen to me. 

Tom. To please you, mother, I'll discontinue writing tonight. 
{Rises.) Now, you go to bed and don't worry about me. I ex- 
pect a caller this evening. If the door bell rings, don't let it dis- 
turb you> Good-night. {Kisses her.) 

Mrs. Erford. Good-night, Tom. Don't think I'm trying to dis- 
courage you; I don't want you to overdo it, that's all. 

Tom. I understand. 

Mrs. Erford. Whom do you expect at this late hour? 

Tom. Mr. Wilbur. It's a matter of business. 

Mrs. Erford. Don't stay up too long, and don't smoke any 
more cigars. {Exits left.) 

Tom. I won't. Good-night. (Sits. He places his hand 
into his coat -pocket and finds the letter used in Act II. He tears 

39 



it to pieces, rises, crosses to fire-place and throws them into the 
flames. Door bell rings. He crosses to talking tube to left of 
door center. Talking into tube.) Hello! (Listen for a momenta- 
then talk into tube.) Yes, I'm alone, come right up. [He crosses 
down center, bearing an expression of doubtful surprise. He 
places his manuscript into the desk drawer and re-crosses to door 
center and opens it. Slight pause. Talking off right.) This way, 
Lucille. {He opens door icide and steps hack.) [Enters Lucille.) 

Lucille. {Grasping Tom's hand warmly upon entering.) Tom, 
I want to thank you first of all. 

Tom. Anyone escort you? (Closes door.) 

Lucille. No. 

Tom. (Coming doicn.) Be seated. (Offers chair.) 

Lucille. (Sits.) You're surprised to see me here, I pre- 
sume ? 

Tom. I am, indeed. .. (Sits.) You followed me rather quickly. 

Lucille. I came on the subway express. I made good con- 
nections. (Pause; hesitating.) I — I don't know just how I should 
explain my visit at this late hour; I might have waited until to- 
morrow, but there's something seemed to tell me that I should 
go that very moment. Well, I'm here, and I suppose I — I must 
tell you why. - 

Tom. I'll leave that to you. 

Lucille. You don't intend to change your mind? 

Tom. In what way? 

Lucille. You're not going to tell Leola or Will about to- 
night? 

Tom. I haven't thought about that. I may have been mis- 
taken. 

Lucille. I don't want you to tell them — I don't want them to 
know. 

Tom. Then I am not mistaken? 

Lucille. You won't tell them, promise me? 

Tom. If I had had such intentions I would have availed myself 
of that opportunity tonight. 

40 



Lucille. I was afraid you would write her a letter of ex- 
planation. 

Tom. Matters are bad enough as they are. {Bell rings.) 
Excuse me. {He crosses to tube.) Hello! {Listens. Then into 
tube.) Yes, the door is open. {To Lucille. ) Quick, Lucille, 
into this room. {Crosses quickly toicard door right.) 

Lucille. Who is it. {Runs.) 

Tom. It's Will. 

Lucille. How did he guess? {Crosses right.) Can I leave 
by the rear door? 

Tom. You won't be able to find the way. 

Lucille. {At door.) Don't tell him. 

Tom. I promise. {She exits, closing door.) {Tam crosses 
toicard desk.) 

Enters Will, rather hurriedly and somewhat excited. 

Will. Have you seen Lucille? 

Tom. Yes. 

Will. Where is she? 

Tom. Where is she? Why — I saw her last at her home. 

Will. She's gone. 

Tom. {In apparent surprise.) Gone? 

Will. Yes. 

Tom. Gone where? 

Will. That's what I'm trying to find out. She wanted to get 
some wire to hang picture. I offered to get it for her. She in- 
sisted upon going herself, however, explaining that I wouldn't 
get the right kind. I then proposed to take her to the store in 
my machine. She consented, but before I could put on my hat 
and coat she disappeared. I followed and saw her enter the 
subway and board a south-bound express. Having failed to over- 
take here, I returned to her apartment. 

Tom. Are you out hunting for her? 

Will. Yes. 

Tom. Do you expect to find her? 

Will. I haven't the remotest idea where to look for her. 

41 



Tom. You certainly didn't expect to find her here, did you? 

Will. Leola suggested that I call on you; that's why I'm 
here. 

Tom. A strange suggestion for her to offer. 

Will. I thought so too. 

Tom. You might have known better. 

Will. That's true, too, but possibly you can offer a sugges- 
tion as to where she may be. 

Tom. Home, by this time, where else? 

Will. I doubt it. There's a hardware store not three squares 
away. Why should she take the subway — the express at that. 

Tom. She hasn't been living there very long. Possibly she 
didn't know 7 a store was so close at hand. 

W t ill. That may be. I'll drive back to her apartment. 
(Starts up center.) 

Tom. Do you intend to take Leola home in your machine? 

Will. Yes, Ted suggested that I take her home. 

Tom. How soon will that be? 

Will. If Lucille has returned we'll leave very soon after 1 
get there. 

Tom. {Taking watch from pocket.) In possibly twenty 
minutes, then? 

Will. Yes, if Lucille is home. 

Tom. Will you drive by here on your way? 

Will. Yes. 

Tom. Leola is very anxious to see that painting there (Point- 
ing to picture on wall. ) , by Jules Girardet. If she desires to 
step in and look at it tonight I will be pleased to show T it to her. 

Will. I'll tell her about it, Tom. Good-night. 

Tom. Good-night, Will. (Will exits; Tom crosses to door 
right and opens it.) Lucille! 

Lucille. (Entering.) I heard everything he said; I can't 
imagine why Leola sent him here. 

Tom. It's not very clear to me either. Have you a tele- 
phone? 

42 



Lucille. Yes. 

Tom. Ring up Leola and tell her you will be home presently. 
Make an excuse for staying away so long. The 'phone is over 
there. (Pointing left to 'phone.) 

Lucille. (Crosses to 'phone and places reveiver to ear.) 
Grand Central 2456. (Pause.) 

Tom. Don't forget to tell her that the store was closed. 

Lucille. Hello! Leola? (Slight pause.) Yes — (Pause.) 
Lost — why? (Pause.) Who is — Will? (Pause.) Why, how 
perfectly ridiculous. (Pause.) No, the stores are closed. I'll 
have Will get some the very first thing in the morning. (Pause.) 
He will if I tell him. (Pause.) In ten minutes. (Pause.) Yes, 
it's rather late. He'll take you home in his outo. (Pause.) Yes, 
I'll hurry. Good-by. (Hangs up receiver.) 

Tom. (Crosses to door center.) Leave by the side door to 
your right. 

Lucille. (At his side.) You must never tell Will of my 
visit tonight. 

Tom. I promise not to breathe a word of anything that trans- 
pired this evening. 

Lucille. I thank you, Tom. (Extending hand; Tom takes 
it.) I — 1 never really appreciated the value of sincerity like 
yours until tonight. I never saw life before as I see it now. 

Tom. Love is a mighty big thing after all. Life is so empty, 
so crude, so worthless without it. (Door bell rings.) Just a 
minute, Lucille. (Crosses to tube.) Hello! (Listens.) Yes, 
take the elevator. {Listens for a second, then to Lucille.) Leave 
by the side door. It's a friend of yours and mine. I know you 
wouldn't want him to see you. 

Lucille. Is it Will ? 

Tom. No, you must hurry. 

Lucille. Good-night. (Exits.) 

Tom. Good-night, Lucille. 

(Tom closes the door and crosses toward his desk. He takes 
a portfolio from his inside vest-pocket and looks around the room, 

43 



finally he crosses to the maritime-piece and lays it next to the 
humidor; he starts back, but again recrosses and puts the port- 
folio on top of the humidor. He recrosses to the desk and seats 
himself. A rap is heard on the door center.) 

Tom. Come in! 

{Ted enters and crosses down center.) 

Tom. Take off your coat; it's rather warm in here. (He 
takes off his coat.) Hang it on the chair. (He does, and then 
crosses down towards Tom.) Sit down, Ted. 

Ted. (Sits.) Who authorized you to make a secret exami- 
nation of my records? 

Tom. Nobody. My position commands that privilege. 

Ted. You had better not say anything to the faculty before 
the bank examiners have made a more thorough examination. 

Tom. In other words, you mean to question my ability as a 
man of figures? 

Ted. That will be proven after the" audit. 

Tom. I'm very sorry, Ted, that you are taking so bold a 
stand against yourself. 

Ted. You have a fine way of saying things. Why don't you 
come out with the truth and say that you've been trying to launch 
some substantial accusation against my character. Your entire 
time has been devoted to this sort of thing ever since you realized 
that I was your rival for the hand of Leola. 

Tom My action was not prompted by any personal affair. 
My suspicion was arroused by the careless manner in which you 
spent your money. The first inkling of your defalcation came to 
me more by accident than by a desire to detect. That memoran- 
dum charge against Fealy-Moore & Co. for eight hundred dollars 
is only one out of ten similar ficticious charges. 

Ted. They are not ficticious; a check deposited by them for 
that amount was returned on account of "no funds." 

Tom. I have substantial proof that it is ficticious. I didn't 
expect an argument on this score. WTien you enterred here this 
evening, the first thing you said referred to your shortage. How 

44 



did you know the nature of your call ? 

Ted. You insinuated in that direction. 

Tom. I simply told you that the bank examiners would be at 
the office in the morning. 

Ted. Why did you insist upon seeing me this evening? 

Tom. I didn't insist; I left it to your own good judgment. 
I intended to tell you everything when we met at Lucille's, but 
I realized your great embarrassment. 

Ted. You were mistaken. 

Tom. And yet you trembled like a leaf. 

Ted. {Forcing a smile.) Ha! 

Tom. Ted, I'm not going to try to get the truth from you by 
lies. IT1 treat the matter openly. The bank examiners will not 
be at the office tomorrow. I simply used that lie to make you 
understand why I desired to see you. 

Ted. I knew that myself. 

Tom. Be informed, however, that I will be at the office very 
early myself. 

Ted. That's your business. 

Tom. For God's sake, Ted, don't make it so hard for me to 
help you. {Ted becomes uneasy.) Do you for one minute 
presume that I am trying to come between you and Leola — that 
I am doing this to further my own interest? -If so, you are great- 
ly mistaken. My purpose of requesting you here is to arrange 
some way to make the defalcation good. You will soon become the 
husband of the sweetest and dearest girl in all New York, and I 
would very much hate to see her dragged into disgrace when there 
is still ample time to prevent it. Your action tonight will either 
make me your defendant or the plaintiff. Which shall it be? 

Ted. You'll be in a better position to determine that in the 
morning. 

Tom. {Taking a bunch of keys from his pocket.) Remember, 
I'll be down very early. {Shows him the keys.) 

Ted. {With surprise.) How did you get them? {Feeling in 
his pockets.) 

45 



Tom. In very much the same manner you got the money. 

Ted. You stole them! 

Tom. That's a rather broad term. I didn't incriminate you of 
stealing the money. I simply said you took it. Of course, you 
intend putting it back again. I, too, do not care to keep these 
keys after tomorrow morning. 

Ted. What is your game? {Grasping the keys.) 

Tom. You don't mean to tell me you're from Missouri. (Jerks 
them away.) Who loaned you the money? 

Ted. What money? 

Tom. The money with which you intend to lift the forged 
papers? 

Ted. (Leaning over table.) Will you help me? 

Tom. For the sake of the girl you love — for the sake of the 
girl who loves you, I'll do all I can to shield you. 

Ted. I did take several thousand, but by tomorrow I'll have 
everything made good. 

Tom. You have made it very hard for me to assist you. Why 
didn't you open up like a man and tell me the truth? 

Ted. I hoped to have everything in an undetectable shape by 
the early morning. • 

Tom. You have the money, then. 

Ted. Yes. 

Tom. Here are the keys. (Gives them to him.) Remember, 
I am doing this at the cost of my position. 

Ted. I've always been damn jealous of you, Tom. I couldn't 
help it. I just had to win her or die. 

Tom. I have lived up to my agreement; I've stepped aside 
and left the field clear for you. I never-the-less still love her 
and by the memory of that love I mean to see her supremely 
happy. Do you know in what way I mean? 

Ted. Yes. 

Tom. She loves you, Ted, and I want you to make her happy.> 
That's why I offer my assistance now. You must proove yourself 
worthy of her in every way. 

46 



Ted. I will, after this. 

Tom. I brought several of the valueless papers with me to 
use as evidence in case I needed them. I'll give them to you. You 
can destroy them the first thing in the morning. {Rises and 
crosses to door right.) You will find some cigars in the humidor 
on the mantle-piece. (Exits.) 

{Ted remains motionless for a few moments, apparently in 
deep thought. He rises suddenly and walks nervously up center. 
He then crosses left to mantle-piece. After laying the portfolio to 
one side he takes a cigar from the humidor and lights it. His 
eyes become fixed on the portfolio. He turns and looks toward the 
door right Upon seeing that he is still alone he opens the port- 
folio and takes a roll of bills from it and places them in his pocket. 
Tom re-enters with an envelope.) 

Tom. {At his desk.) Here they are. (Hands them to him.) 

Ted. (Takes them.) I'll destroy them now. (Movement as 
though to tear the envelope.) 

Tom. (Stopping him.) Check them over first. 

Ted. I don't think it's necessary. (He places it in his pocket.) 

Tom. You are complimenting my ability now. (Starting to- 
ward left.) How do you like that cigar? 

Ted. Somewhat strong for me. (He watches Tom anxiously.) 

Tom. (Places portfolio to one side 3 feeling of it while doing 
so. He opens the humidor and takes a cigar.) How did you 
manage to get all the money in so short a time? 

Ted. My father will make it good. 

Tom. Oh. (Lights cigar.) 

Ted. (In an effort to attract his attention elsewhere.) That's 
a very fine oil painting. By whom is it? 

Tom. (Crosses to his side.) Thats' by Jules Gerordet. Leola 
admires his work very much. 

Ted. Yes, she has two of his paintings. 

Tom. Let's get back to our first subject. 

Ted. It's rather late. I — I think we understand each other. 

Tom. An unexpected change has taken place. 

47 



Ted. (Doubtfully.) Change? 

Tom. Yes, I cannot offer you my assistance. 

Ted. ( Nervously. ) Why^— what — ? 

Tom. You are not possessed of the qualities to reform. 

Ted. What — what do you mean? 

Tom. (Directly in front of him.) You were merely a de- 
faulter until tonight; now you are a thief! 

TED. (Aghast.) Tom! 

Tom. Ted, I was in hopes my test would fail; I saw you take 
the money from that portfolio! 

Ted. What money? 

Tom. For God's sake, Ted, don't deny it! Place your hand in 
• that pocket. (Points to pocket in coat. Ted places his hand into 
the pocket.) Give it to me! 

Ted. ( Gives him the money. ) I don't know why I did it ! 

Tom. (Takes it.) Why didn't you tell me you needed the 
money ? 

Ted. I don't know, Tom, I don't know why I took it — I don't 
know ! 

Tom. It's the same old story: The habit is easily acquired 
after it is once started. 

Ted. I'll never do it again; I'm through with it — I'm done 
with it! 

Tom. For how long? 

Ted. For good — for always! 

Tom. And you are the choice of the girl I love. A thief, a 
bold, every-day, low, common thief, the fiancee of one of the fairest 
young women in the world? 

Ted. Don't, don't! I'm done with it for good — for good! 

Tom. Once a thief, always a thief! 

Ted. No, no, no! 

Tom. Yes! Yes! What proof — what assurance — what trust 
can so weak a man as you offer now. You have destroyed the 
last bit of confidence I had in you. A thief is also a liar by 
reason of his profession; you didn't win Leola over me by fair 

48 



means ! 

Ted. Leola loves me! 

Tom. Would she love you if she knew you as I do, would she 
love you then? {Ted drops his head) No! Every spark of love 
she ever had for you would vanish! Why deceive her? 

Ted. (Appealin-gly.) Tom, I love her! 

Tom. I love her too! And I'm not going to allow a man of 
your calibre to cheat me out of so great a claim! 

{Door bell rings. He crosses to talking tube.) Hello! {List- 
ens.) Yes, come right up with her. 

Ted. Who's there? 

Tom. Leola and Will. 

Ted. {In complete surprise.) Leola! {After regaining his 
almost stupifted faculties, he crosses toivard Tom.) For heaven's 
safle, Tom, don't tell her! 

Tom. {Determined.) I will tell her! She must know! 

Ted. Don't tell her tonight, consider it — tomorrow you may 
think differently. 

Tom. Have you no sense of honor at all. » 
Ted. Don't tonight! I'll make my own confession, but not 
tonight — not tonight! {A rap at door.) They're here! For 
God's sake, Tom, don't tell her — don't. {Takes hold of Tom's 
hand pleadingly.) 

Tom. Come in. {Starts up.) 

Ted. {Grasping his hand in a final appeal.) Tom! 

{The door opens upon this scene; Leola and Will enter; Tom 
turns, looks at Ted and then crosses down center. Leola and Will 
are surprised and look at the scene with some little amazement. 
Tom then faces about and assumes a studious pose.) 

Will. I didn't expect to see you again tonight, Ted. {Ted's 
gaze is fixed upon Tom.) 

Leola. {At Ted's side.) Why, Ted, you're as pale as a. 
ghost. What's happened ? 

Ted. Nothing, Leola. {Takes a step toward Tom. who re- 
mains motionless.) 

49 



Leola. {Crossing toward Tom.) Tom, you're not saying a 
word. 

Tom. (Calmly.) You have rendered me a great service, 
Leola. Ted too, has done wonders this evening. I'm deeply grate- 
ful to both of you. To make a long story short, we agreed upon 
these positions to find out the natural effect it would have on you 
and Will. It will serve as a strong and fitting climax in my new 
play. {Ted brightens and crosses to Leola.) 

Will. Well, of all the eccentricities of man. For originality, 
you've got anybody I know beat by a mile. 

Tom. An undeserving compliment. 

Leola. {To Ted.) Is this your appointment? 

Ted. Yes. 

Leola. {To Tom.) And the excuse you offered to bring me 
here was to show me a painting by Jules Girardet. 

Tom. Yes, I hope your desire to see it is as great as my 
sincerity of purpose. {Pointing toward picture.) There it is. 
{He turns on the electric light.) 

{Leola and Will cross up and look at the picture Ted crosses 
to Tom and grasps him warmly by the hand, while the curtain 
drops upon the picture.) 

CURTAIN. 



50 



THE FOURTH ACT. 

The Scene is the same as that of the Third Act, Fourteen 
months are supposed to have elapsed. The icalls are hung with 
several paintings used in Act. II. A telephone is on the desk. 
The curtain rises upon the dark, unoccupied room. The telephone 
rings repeatedly. Slight pause. Tom enters from door center, 
attired in evening dress. He crosses to the desk ond turns on the 
electric lamp. lie then removes his coat and exits right. Tele- 
phone rings again. Slight pause. Tom re-enters with a lounging 
robe on his arm and crosses to desk telephone and answers the 
call. 

Tom. Hello! {Pause.) No, you'll find him at the theater. 
(Pause.) He didn't say. Good-by. {Hangs up the receiver 
and put on his lounging robe. He is just at lighting a cigar ivhen 
the telephone rings again. .Answering.) Hello! {Pause.) This 
you, Burt? (Pause.) Yes, right here. (Pause.) Yes. (Pause.) 
Yes. (Pause, looks at icatch.) Rather short act. (Pause.) 
They did? Bully! (Pause.) I'm sorry, but I really can't. 
(Pause.) Oh no, I'm not afraid to face the audience, I'm per- 
fectly calm. (Pause.) If they insist upon a curtain speech, I'd 
consider it a favor if you would answer for me. (Pause.) They 
won't know the difference. (Pause.) You think so? (Pause.) 
Yes, you might do that. (Pause.) Oh, tell them — tell them I 
died suddenly. (Pause.) You never can tell, you know. (Pause.) 
Yes. you might make that excuse. (Pause.) Ring me up after 
the third act and let me know how it takes. (Pause.) All right. 
Good-by. {Hangs up the receiver and looks at his watch.) 
Enters Will from door center, rather hurriedly. 

Will. What on earth are you doing her, Tom? (Coming 
doirn.) Why aren't you at the theater? 

Tom. I'm indisposed. 

51 



Will. Indisposed? And smoking a dark Havanna at that? 

Tom. Force of habit. 

Will. Is that straight goods? Are you really sick, or can't 
you stand the nervous strain? 

Tom. Neither, Will. 

Will. W T hy in thunder are you in hiding, then? 

Tom. You don't understand my position. 

Will. I don't understand you at all. The curtain just 
dropped on the second act; the audience went wild and called for 
you. Lucille and I were dumb-founded with surprise at the play. 
Lucille almost fainted when the climax came at the end of the 
act. 

Tom. I was afraid she would. * 

Will. Why, you've got Lucille, Leola, Ted, yourself, and 
even myself mixed up in the story. 

Tom. I see you recognize all the characters. 

Will. Is all of it true to life? 

Tom. Up to the end of the third act. The last act is my own 
creation; you don't want to miss it; it will tell you why I am 
here and not at the theater tonight. 

Will. I don't want to miss any part of the play. I came to 
get you. My machine is waiting. {Looks at watch.) We'll have 
to hurry. 

Tom. Don't wait for me and don't tell anybody I'm here. 

Will. I'll be hanged if I know how to take you. 

Tom. Take me seriously — and go. 

Will. I was just about to laugh at you, but I guess I won't. 
You must have a purpose, of course, but I fail to even imagine 
any feasible reason. 

Tom. Will you do me a favor? 

W^ill. Why yes. 

Tom. Would you take my mother home in your machine 
after the play? 

Will. That's what I intend doing. By-the-by, I've got sev- 
eral surprises for you. 

52 



Tom. Several surprises? 

Will. Yes, Number one: Leola received a decree granting her 
absolute separation from Ted. 

Tom. When? 

Will. This afternoon. Number two: She is at the theater 
this evening, and I invited her into our box. (Tom bears an ex- 
pression of pleasant surprise.) Number three: Ted is also at the 
theater; I met him at the stage door; he looks very poor and his 
manners were most peculiar. He asked for you. 

Tom. (Slowly.) Poor fellow, I tried my best to make a 
man of him. 

Will. Leola looks exceptionally well; she immediately asked 
for you. (Tom turns aside somewhat depressed.) She is en- 
joying the play immensely. (Pause.) 

Tom. (Brightens slightly.) You'll miss the third act if you 
don't hurry back. 

Will. I'm afraid I've missed part of it already. (Starting 
up.) I'll ring you up after the act and let you know how it 
takes. 

Tom. Thanks. 

Will. We may have to get you in order to satisfy the en- 
thusiastic audience. 

Tom. No fear of that; I'd advise you not to, even though 
they do insist. 

Will. I'll see you after the show, then. (Exits.) 

(Tom looks at his icatch, crosses to the 'phone, removes re- 
ceiver; pause.) This the operator? (Pause.) This is apart- 
ment eight; kindly discontinue connection with my 'phone after 
ten o'clock. (Pause.) Not in. (Pause.) Yes. (Pause.) Thank 
you. Good-by. 

(Ted bursts into the room through door center.) 

Ted. (Coming down center furiously.) I've found you at last, 
you coward! 

Tom. (Rising.) Ted! 

Ted. You weren't satisfied with stealing the affections of my 

53 



wife and haunting her almost to death, but you dare to place 
the entire thing, lies and all, before the very public. 

Tom. Only in character. 

Ted. You've made it plain enough. 

Tom. And true to life, 1 hope! 

Ted. Yes, damn you! I'll kill you for that! (He confronts 
hint tcith a pistol.) 

Tom. {Jumps to one side, at the same time grasping his pistol 
hand. A struggle folloics, the pistol discharges and the bullet 
goes icild, breaking the looking-glass above the mantle-piece. Tom 
succeeds in icrenching the weapon from Ted's hand.) So you've 
come to kill me! You very nearly succeeded, too. {Crosses to- 
ward chair right, extracting the bullets from the barrel unper- 
ceived by Ted, and lays the pistol on the table.) You're not very 
much disappointed, are you, now since you've had a little time 
to think it over and realize the full extent of such a deed? 

Ted. I'll get you yet! (Crosses up center.) 

Tom. Where are you going? 

Ted. Where do you suppose? 

Tom. I didn't suppose you'd go very far at present. (Picks 
up revolver playfully.) Sit down here. 

Ted. ( Coming doun. ) Well ? 

Tom. Kindly be seated. (Ted sits; Tom folloics.) What 
motive have you for wanting to take my life? What is there 
within you that is pouring oil on the flame? 

Ted. You know 7 that as well as I. 

Tom. Primarily, let's say then, it's love! 

Ted. That's not all, and you know it! 

Tom. I'm trying to make my point. I said primarily — the 
cause of your agitation — the spell-binding power that first made 
you a liar, then a defaulter, a thief, and now a murderer! 

Ted. (Turning as though apprehending the extent of his 
degradation.) Tom! 

Tom. The powers Avithin you, poisoned by your numerous 
misdeeds, are easily controlled by mere impulsive flashes of 

54 



thoughts and ideas enslaving you to execute them in all their im- 
maturity. Man does much in this frame of mind at the im- 
pulse of a moment; he afterwards regrets. It's the concentration 
of your entire mind and energy upon the object of your insane 
passion, as against the lone, weak defenseless soul, which ulti- 
mately bears the burden of your sins and meets with eternal dam- 
nation ! Do you fully appreciate what I'm saying? 

Ted. You always were damn sentimental. 

Tom. That's the great difference between us. {Leaning over 
the table.) Ted, I'm going to take you into my confidence; a 
strange thing to do with a man of your calibre. You say I'm 
sentimental; that's the power within me that controls my mind; 
I have been a slave to that power, and often against the will and 
determination of my mind. In a moment of great dejetcion, 
caused by the same feeling of love as yours, acting upon the con- 
ditions of the powers within, my heart and soul prompted me to 
make a pledge to my Creator to face death at a certain hour. The 
hour is very close, and I stand ready now without fear to pay the 
debt. 

Ted. That's in your play. 

Tom. In reality, too! I have since found much in life to live 
for. The love which bound me to my sentiments has since worn 
off. I never valued life so much as I do tonight. 

Ted. I'm beginning to understand you, Tom. 

Tom. (Grasping his hand.) I'm glad you do, Ted! You 
are still very young and have much to live for; brace up, study 
the powers within you ; turn bad into good, and pray God to 
forgive you! 

Ted. (Lowering his head.) I will! 

Tom. (Rising.) Here is your pistol. (Gives it to him.) 
Stand where you are. ( Ted rises.) Now put your right arm out 
like this. (Holds his arm in firing position; Ted folloivs.) The 
pistol is cocked — press the trigger! 

Ted. (His hand trembles and the pistol drops to the table.) 
I couldn't do it now — I couldn't, Tom! (Pause.) 

55 



Tom. You are in the midst of a great battle; fight with the 
heart of a loyal soldier and you are bound to win! 

Ted. Forgive me, Tom. {Extending hand; Tom take it.) I 
don't deserve it! 

Tom. You must sin no more! 

Ted. I promise! I'm going out West and begin life all over 
again. 

Tom. That's the bravest thing you ever said. 

Ted. {Turning to go.) Good-night. 

Tom. Here are your bullets and the pistol; you may need 
them out West. 

Ted. I don't want to touch them! I'll never handle another 
in my life — never! {He crosses to door and exits.) 

Tom. . . ( Turns out all but one electric light and then sits on 
chai rright. He takes his watch from his pocket, looks at it and 
then sinks back into his chair. .Softly.) Only three more minutes! 
{He clasps his hands firmly and lowers his head, tchile the cur- 
tain drops. The curtain rises after a slight pause. An hour is 
supposed to have elapsed. Tom is discovered sound asleep on the 
chair. ) 

The door center opens and Will enters, followed closely 
by Mrs. Erford, Leola and Lucille. 

Will. {Upon entering immediately crosses toward Tom.) 
Tom! {Pause.) Oh Tom! {No answer.) 

Mrs. Erford. {Crosses to table, spies the pistol.) What's 
this? {Seeing Tom, screams histerioally.) Tom! Tom! {Shake 
him.) 

Tom. {Awakening.) Mother! {He rises.) 

Mrs. Erford. {Anxiously.) Are you safe? 

Tom. {Embracing her.) Yes, thank God! 

Mrs. Erford. {Sobbing.) My boy! My boy! You frightened 
me. 

Tom. {Embracing her.) I'm sorry, mother 

Mrs. Erford. Your play ended so much like this that for a 
moment I feared — Oh, God forgive me! The pistol, the glass, and 

56 



you here, apparently lifeless. What other conclusion could I 
more quickly arrive at? 

Tom. There — there mother, it's all right. {Pointing to broken 
glass.) That was a mere accident. 

Mrs. Erford. How did it happen? 

Tom. Well,- you see they needed a pistol in my play; I 
bought this one for that purpose, but when I arrived at the 
theater they already were supplied with a pistol, so I took it 
home with me." 

Mrs. Erford. But the shot — how did that happen? 

Tom. The dealer sold me bullets instead of blanks. I tried 
One for fun. 

Mrs. Erford. Why weren't you at the theater? 

Tom. I'll explain that later. 

Mrs. Erford. Your play is a success*. Tom, a success! 

Will. It's the greatest thing on Broadway. 

Tom. Bully! (Turning, sees Leola and Lucille.) Why, Good- 
evening, Leola. I didn't know you were here. (Shakes her 
tcarmly by the hand.) 

Leola. I congratulate you, Tom. I never enjoyed a play 
more in my life. 

Tom. (Modestly.) Thank you. (To Lucille.) Hello, Lucille! 
[Shakes hands.) 

Lucille. Congratulations, Tom, i'ts great! 

Will. The audience simply went wild at the end of the 
third act. They called for you repeatedly. Your leading man 
finally stepped before the curtain and announced that you were 
indisposed. This seemed to satisfy them until one of the young 
gallery-gods yelled down through his megaphone-shaped program: 
"He's soused!" 

Tom. (Laughing.) I suppose the majority believed the boy. 
(Tom crosses to Leola.) 

Will. There are always some that will imagine so, anyway. 
(He notices that Mrs. Erford is removing her hat.) Keep your 
hat on, Mrs. Erford. 

57 



Mrs. Erford. Why? 

Will. I ordered a dinner at Rector's. -We'll drive over im- 
mediately. 

Mrs. Erford. Oh! Well, 111 just put it back on again. (Does 
so.) 

Will. You had better get your things on, Tom. {Tom's at- 
tention is too much occupied in Leola.) I say we'll have to 
hurry; it's nearly mid-night now. (Lucille and Mrs, Erford 
cross toward door center; Will crosses toward Tom. ) Pardon 
the interruption, Leola. (Places hand on Tom's shoulder.) My 
wife and your mother are waiting for you; are you coming? 

Tom. Oh, pardon me, I wasn't listening to you. I'll be 
ready in a minute. ( Crosses right toward exit. ) 

Will. I'll crank the machine in the meantime. 

Tom. I'll be right down. (Exits right.) 

Will. (At door center.) Are you coming, Leola I 

Leola. I'll wait for Tom, if you don't, mind. 

Will. All right. {Opens door, Lucille and Mrs, Erford exit.) 
Jerk him up a bit if he doesn't hurry. (Exits.) 

Leola. (Crosses to desk and picks up the revolver; she steps 
back in surprise, examining it closely.) 
Tom re-enters. 

Tom. (Upon seeing Leola.) Very kind of you to wait for 
me, Leola. 

Leola. (Hides the pistol behind her back.) My, but you 
dressed quickly. 

Tom. My coat is all I needed. 

Leola. Was Ted here this evening? 

Tom. ( Undecidedly. ) Why — no. 

Leola. Were you asleep all evening? 

Tom. No, I fell asleep shortly before you entered. 

Leola. At what time did this accident occur? 

Tom, What accident? 

Leola. The discharge of this pistol. 

Tom. Why, shortly before I fell asleep. 

58 



Leola. Wasn't that a rather late hour to experiment with a 
pistol in an apartment house? 

Tom. It was more by accident. I emptied the barrel as soon 
as I discovered they were not blanks. 

Leola. Lucky, wasn't it that they had one at the theater? 
It would have been a case of criminal negligence on your part 
to allow its use in the play. Think what might have happened. 

Tom. I never thought of that. 

Leola. You didn't have time, Tom. You improvised the 
first thought that entered your mind as an excuse. 

Tom. What excuse, Leola? 

Leola. You never handled v this pistol before it was dis- 
charged; it's Ted's. I know that beyond a doubt. Where is he? 

Tom. I — don't — know. 

Leola. You have always tried to shield him, Tom. Perhaps 
it would have been better for both of us had you not. 

Tom. {With an involuntary move toward her.) Leola! 

Leola. I would not have been disgraced for one. 

Tom. That was the one thing I tried hard to prevent; that I 
failed was no fault of mine. I wanted to see you happy — -very 
happy. I realized that there was no greater happiness on earth 
than to love and be loved! 

Leola. I could never have loved him had I known him for 
what he is. 

ToM. Love makes cowards of the brave and weaklings of the 
strong. If my acts were to blame for any of your discomforts, I 
humbly beg your pardon. {Botes.) 

Leola. You have one great fault, Tom. You think too little 
of yourself. {The door bell rings.) 

Tom. Excuse me. {Crosses to talking tube.) Hello! {Pause.) 
Yes, we're on the way, Will. {To Leola.) They are waiting for 
us. {Opens the door.) 

Leola. Tom, are you quite sure that Ted will not molest you 
in the future. 

Tom. I am positively sure of that. 

59 



Leola. Everything seems so much like your play, with the 
exception of the end. 

Tom. Don't you like the way it ended? 

Leola. {At door.) No. 

Tom. Suppose I change it so that it will end thfs Way. {He 
opens his- arms, making a slight move toward her.) 

Leola.- (Sinks into his ready embrace.) Tom! 

Tom. Leola! {He kisses her lips passionately, while the 
curtain drops.) 

CURTAIN. 

THE END. 



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